The manuscript of Striggio’s Mass Ecco si beato giorno for 40 and 60 voices is a fascinating bibliographical object, the dating of which has always been problematic. From the 18th century with Sebastien de Brossard, to the present day with Laurent Guillo and, more recently, Davitt Moroney, several hypotheses have been proposed for the date of this unicum, copied in France during the 17th century. This article presents new evidence based on the identification of three watermarks, whose concomitant presence allows dating the manuscript to the decade of 1610. The accurate dating of this manuscript is important not only for the reception of Striggio’s music in 17th-century France, but also because it may represent the first occurrence of the term ‘basse continue’—or rather ‘basse continuee’—in a French source. Furthermore, the manuscript bears strong evidence that it was the copyist who devised the ‘basse continuee’ part, and that he achieved this solely based on the vocal parts, and not from any pre-existent Italian basso seguente. Indeed, the analysis of the two organ parts reveals the challenging and laborious process the French copyist undertook to reach his goal.

中文翻译：

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抄本遗失：斯特里吉欧弥撒的“低音连续体”分为40和60个部分，以作为17世纪初法国连续实践的证据

斯特里吉奥（Striggio）的Mass Ecco si beato giorno的手稿有40和60种声音，是一个引人入胜的书目对象，但其日期始终是有问题的。从18世纪与塞巴斯蒂安·德·布罗萨德（Sebastien de Brossard）一起发展到今天，与洛朗·古略（Laurent Guillo）以及最近的达维特·莫洛尼（Davitt Moroney）一起，有人提出了关于这个独特年代的假设，并于17世纪在法国复制。本文基于对三个水印的识别提供了新的证据，这些水印的伴随出现使手稿的年代可以追溯到1610年。该手稿的准确日期不仅对于在17世纪法国接受斯特里乔的音乐很重要，而且对因为它可能代表法语中出现的“低音连续”（或更确切地说是“低音连续”）一词。此外，该手稿有力的证据表明，是抄袭者设计了“低音连续乐曲”部分，并且他仅根据声乐部分才实现了这一点，而不是从任何先前存在的意大利贝苏琴弦中获得的。的确，对这两个器官部分的分析揭示了法国抄写员为实现其目标而进行的艰巨而艰苦的过程。